The transgression and confrontation is re-enacted in this brilliant fugue-like film by Dana Plays constructed of found footage, and concerning both American involvement in oversees conflict and the resultant unseen plight of the child refugee. Subverting state-sponsored informational films on such issues as war bonds and highway safety, Plays transforms these agit-prop rhetorics into a celluloid mirror of transgression as a larger cultural pathology. In Zero Hour, the results - the products of war return to the initial cite of production: an assumed audience of Americans, middle-class citizens of an ideal suburban dream who have somehow foregone the immediate experiences and repercussion of mass destruction and displacement. The gaze rests on us. We are the sugar-stated, hyper and unaware violator, an audience whose relationship to world events is nowhere more homogeneous than in or communal incubation and guilt.
Princess Jasmine grows tired of being forced to remain in the palace and she sneaks out into the marketplace in disguise where she meets street-urchin Aladdin and the two fall in love, although she may only marry a prince.
William Munny is a retired, once-ruthless killer turned gentle widower and hog farmer. To help support his two motherless children, he accepts one last bounty-hunter mission to find the men who brutalized a prostitute.